Doctor Pompo believes that he has found a nose lying on the ground, but everyone he meets identifies the mysterious object in a different way.

Presents vegetables and fruits carved into the shapes of different baby animals, including a bunny, a piglet, a whale calf, a bear cub, and others. On board pages.

"Who'd have dreamed that produce could be so expressive, so charming, so lively and funny'...Freymann and...Elffers have created sweet and feisty little beings with feelings, passions, fears and an emotional range that is, well, organic." - The New York Times Book Review. "Use this book to discuss different moods, to introduce the names of many fruits and vegetables, to identify colors, and to inspire young artists to create sculptures of their own." - School Library Journal, starred review

One lonely sea horse learns that she has a lot of friends--friends she can really "count" on to help. Full-color illustrations.

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.